Life Of Pi Research Articles

Kannibalizmus és allegória

In Yann Martel’s Life of Pi (2001) and Carol Birch’s Jamrach’s Menagerie (2011), the violation of a taboo is not simply the centre or the climax of the story, but rather, the entire story is told exactly because of an incomprehensible and indigestible event. Both novels are contemporary representatives of nautical fiction, telling an ordeal at sea with the protagonist eventually resorting to cannibalism. The two main characters consume a best friend and a brother respectively, but as a result of their transgressive act, the representational ethics of taking a dead man’s place in order to survive organises the narrative pattern of both books. I aim to explore how the thematic element of cannibalism affects the narrative structures of these texts. Cannibalism creates a fictitious, out-of-time, liminal space around itself during the tensest scenes: the chapters recounting the tragic incident mark where the whole narrative blooms from, bearing a resemblance to the navel metaphor Sigmund Freud uses to describe the point of origin in every dream.

The Identity of the Main Character in Life of Pi novel by Yann Martel (Psychology of Literature)

The objective of this research was to understand comprehensively the identity of the main character in the novel of by Yann Martel. It was a qualitative research with content analysis conducted in Jakarta, from June to August 2013. The data were collected through comprehensive reading to the novel, some relevant books, and articles review in internet. Then, it was analyzed through the psycho-analysis theory. Since this is a qualitative research and the researcher himself is the instrument, most of activities were conducted by the study of literature. It was done by tracing relevant data in novels which showed the developmental phases of the main character from childhood to his teenage in order to know his personality, conflicts, the factors which affect the search for identity, and the efforts made by the main character in his search of identity. Results of this research showed that the main character in the novel Life of Pi by Yann Martel is extrovert, intelligent, earnest and energetic. He is a devout adherent of three religions: Hinduism, Christianity, and Islam. He is also a lecturer at the University of Toronto, and an animal lover.

Trends in S3D-Movie Quality Evaluated on 105 Films Using 10 Metrics

In this paper we present a large-scale analysis of S3D-movie technical quality spanning a large portion of stereoscopic-cinema history. We evaluated 105 Blu-ray 3D releases, including titles like the 1954 classic Dial M for Murder, as well as contemporary stereoscopic productions like Life of Pi and The Great Gatsby. The analysis is based on objective quality metrics designed to detect specific types of artifacts, including swapped channels, inconsistencies between the stereoscopic views (color, sharpness and geometric as well as temporal asynchrony) and many others. The main challenges we had to overcome were the enormous amount of computational resources and disk space that such analyses require as well as algorithmic difficulties in developing some of the more advanced objective quality metrics. Our study clarifies the quality trends and problems of S3D movie production in general and provides a better understanding of how effectively quality control has been applied to particular movies compared with the overall trend.

Memory and movies: what films can teach us about memory

In the movie Slumdog Millionaire, the childhood memories of a young game show contestant trigger his correct answers. In Memento, the amnesiac hero uses tattoos as memory aids. In Away from Her, an older woman suffering from dementia no longer remembers who her husband is. These are compelling films that tell affecting stories about the human condition. But what can these movies teach us about memory? In this book, John Seamon shows how examining the treatment of memory in popular movies can shed new light on how human memory works. After explaining that memory is actually a diverse collection of independent systems, Seamon uses examples from movies to offer an accessible, nontechnical description of what science knows about memory function and dysfunction. In a series of lively encounters with numerous popular films, he draws on Life of Pi and Avatar, for example, to explain working memory, used for short-term retention. He describes the process of long-term memory with examples from such films as Cast Away and Groundhog Day; The Return of Martin Guerre, among other movies, informs his account of how we recognize people; the effect of emotion on autobiographical memory is illustrated by The Kite Runner, Titanic, and other films; movies including Born on the Fourth of July and Rachel Getting Married illustrate the complex pain of traumatic memories. Seamon shows us that movies rarely get amnesia right, often using strategically timed blows to the protagonist's head as a way to turn memory off and then on again (as in Desperately Seeking Susan). Finally, he uses movies including On Golden Pond and Amour to describe the memory loss that often accompanies aging, while highlighting effective ways to maintain memory function.

AN ANALYSIS OF TRANSLATION TECHNIQUES AND QUALITY IN TERMS OF ACCURACY, ACCEPTABILITY AND READBILITY OF PI'S EXPRESSIVE SPEECH ACT IN THE FILM ENTITLED LIFE OF PI

<p>This research was conducted to analysis the translation techniques and quality of types on expressive speech acts exploited by Pi, the main character in the film “Life of PI”. The research used the Pragmatics approach with speech act as the field of study. It was a descriptive qualitative research and it employed purposive sampling as the sampling technique. The data in this research were the types of expressive speech acts. From the result of data analysis, there are four types of expressive speech acts employed by Pi character in the film “Life of PI”, they are thanking, apologizing, blaming and praising. From the analysis, the first finding of the research shows that the total data of research are 24 data. There are four expressive, thanking expressive speech act 7 data, apologizing speech act 10 data, blaming 3 data, and praising 4 data. The second finding of the research shows that there are two techniques employed by the translator in translating expressive speech act in the film “Life of Pi”. They are literal translation 19 data and explicit translation 5 data. The third finding dealing with the quality of translation, the translation of expressive speech act in the subtitle film “Life of Pi” belongs to accurate and acceptable and readable translation. For the accuracy of the translation, from 24 data, 19 data are accurately translated, 5 data are less accurately translated. For the acceptability of the translation, from 24 data, 21 data are acceptably translated, 3 data are less acceptably translated. For the readability, all the 24 data are readable.</p>

Human Ecological Analysis of the Life of Pi

In this article, I have discussed how can we analyze an adventurous and fantasy Novel like “Life of Pi” from human ecological perspective. Knowledge is generated and applied in diverse spatial and temporal contexts, which has varied implication to individuals, households, communities, and human kind as a whole. The implication confines not only to human being would be equally implicate to the surrounding of biotic and abiotic elements. The human ecological knowledge of “Life of Pi” is one of such case. The early life of Mr. Pi and his social educational background had great implication on his later academic life, thinking, acting and feeling as well as for livelihood. How diversity plays a great role in our perception and creates beautify of life around us? The difference between 'knowing how' and 'knowing that' is felt by people of different socio-economic background. Knowing how is more relevant in the context of practical or empirical knowledge. Knowing that is a formal informed knowledge with little connotation of empirical understanding. Combination of both types of knowledge is important in human ecological analysis. In this article I have tried to explore complex connectivity in relation with human being, diverse animal’s world, and landscape relation from human ecological perspective which can be vividly locate in the Novel.

Contradictions in fiction: Structuralism versus Jacques Derrida and deconstruction

The phenomenon of contradiction has been highlighted in recent decades by both postmodern art and deconstructionist philosophy. Deconstructionists seem most interested in contradictions generated by language and hence pervading all human life; they expose contradictions and proclaim their inevitable and devastating impact on human beings’ epistemological efforts. Postmodern art, though sometimes expressing radical scepticism, seems less predictable and more versatile in its use of contradictions. This paper attempts to offer a structuralist study of contradiction in discourse in the context of fictional narratives. Three contemporary novels—The Unconsoled by Kazuo Ishiguro, Life of Pi by Yann Martel and House of Leaves by Mark Z. Danielewski—have been selected for the study. The paper focuses on the uses of contradictions and, in particular, their contribution to the works’ meaning and the process of interpretation. It appears that contradictions in fiction perform various meaningful tasks and, with rare exceptions, do not preclude the possibility of a consistent reading of the text. The second section of the paper brings into consideration deconstructionists’ and Jacques Derrida’s views on contradiction. While the uses of contradictions in postmodern fiction might supply an argument with which to oppose the epistemic scepticism advocated by deconstructionists, Derrida’s original treatment of contradictions, related to his critique of logocentrism inscribed in language, might be impervious to this kind of argument. Indeed, Derrida’s critique of language might partly undermine structuralist studies of contradictions; one should, however, remember that this critique rests ultimately on Derrida’s own uncertain metaphysical assumptions.

The cinema of Ang Lee: the other side of the screen

Acknowledgments Note on Transliteration 1. Introduction: Ang Lee-A History 2. Ang Lee as Director: His Position in Asian and World Cinema 3. Confucian Values and Cultural Displacement in Pushing Hands 4. Transgressing Boundaries of Gender and Culture in The Wedding Banquet 5. Globalization and Cultural Identity in Eat Drink Man Woman 6. Opposition and Resolution in Sense and Sensibility 7. Fragmentary Narratives/Fragmented Identities in The Ice Storm 8. Race, Gender, Class, and Social Identity in Ride with the Devil 9. Wuxia Narrative and Transnational Chinese Identity in Crouching Tiger, Hidden Dragon 10. The Ultimate Outsider: Hulk 11. Transcending Gender in Brokeback Mountain 12. Eroticism and Performance in Lust/Caution 13. Memory, Narrative, and Transformation in Taking Woodstock 14. Storytelling and Truth in Life of Pi: A Spiritual Journey 15. Conclusion: The Dream of Cinema Notes Bibliography Index

Performing Resistance with Maya Rao: Trauma and Protest in India

16 December 2012: a 23-year-old woman, Jyothi Singh, and her companion, on their way back from watching an evening showing of Life of Pi (2012) at one of the mall-multiplex complexes in South Delhi...

Register analysis of dubbing and subtitling of “life of pi”

Register analysis of dubbing and subtitling of “life of pi”

Cannibalism, Communion, and Multifaith Sacrifice in the Novel and Film Life of Pi

Abstract: This article argues that Yann Martel's and Ang Lee's Life of Pi is a multicultural story of maternal cannibalism that resists discourses of cannibalism that assume only the excess of the Other can eat human flesh. Whereas on one level the main character's cannibalism is sublimated into a tale about a boy and four animals on a lifeboat, on a deeper level it is about a Hindu mother's Christian sacrifice that answers her son's Islamic prayers. Although psychoanalytic theory is used to unlock the maternal cannibalism underlying Pi's tale, the discourse of oedipal and pre-oedipal desire is rejected as discounting the specificity of Pi's adult trauma.

The Relationship Between Religion and Cinema in the Context of the Construction of a Harmonious World: "Life of Pi" Example

Ilk konulu film 1902, ilk sesli film 1927, ilk Turk filmi 1914 tarihli olmakla birlikte 1895’den itibaren hayatimizda olan sinema, cok onemli bir sanat dalidir. 120 yillik tarihi boyunca sinemanin dogrudan ya da dolayli olarak hayatin her alani ile oldugu gibi, din veya dini olgular ile de yakin iliskisi olmustur. Bu iliski olumlu veya olumsuz sonuclar dogurmus ama her durumda etkili olmustur. Islâm’in yayilisini konu eden 1976 yapimi “Cagri” ve Hz. Isa’nin son 24 saatine isik tutmaya calisan 2004 yapimi “Tutku: Hz. Isa’nin Cilesi” filmleri gibi dogrudan dini icerikli filmler yaninda, ozellikle gunumuzde bilincalti mesajlarla olusturulan din algisi, sinemanin bu alanda ne kadar onemli bir guc oldugunu ortaya koymaktadir… Bu konuda Hinduizm’in Tanri inancinin da etkisi ile cevrilen filmlerden biri olan “Life of Pi” onemli bir ornek teskil etmektedir. Life of Pi, Yann Martel’in ayni isimli romanindan David Magee tarafindan sinemaya uyarlanan, yonetmenligini Ang Lee’nin ustlendigi, 2012 yapimi ve 4 Oscar odullu bir filmdir. Filmde Pi (Piscine Pattel) adinda Hintli bir gencin, ailesi ile birlikte bindikleri geminin batmasi sonrasinda kurtulup, bir Bengal kaplani ile 227 gun boyunca Pasifik Okyanusunda bir kurtarma filikasinda verdigi hayatta kalma mucadelesi konu edilir. Film acikca verilen “Allah inancina goturecegi” mesaji yaninda, kullanilan cok sayida metafor ile seyirciyi derinden etkilemeyi basarmis, sinemanin din konusunda nasil kullanilabileceginin muhtesem bir ornegini vermistir. Filme gore Pi cocuklugundan itibaren inancla ilgili sorgulamalari olan; hayatin anlamini bulmaya ozellikle Tanri’yi tanimaya calisan bir genctir. Cocuklugunda bir Hindu olmanin yaninda onu namaz kilan bir Musluman ve vaftiz olmak isteyen bir Hiristiyan olarak gormek mumkundur. Bu dinlerin bir arada olup olamayacagini sorgular. Babasinin “Her seye ayni anda inanmakla, hicbir seye inanmamak arasinda fark yoktur.” sozu uzerine bu dinlerin hepsinin birden muntesibi olamayacagini kavrar ama bu onun yekdigerini anlamasini engellemez. Gunumuzde dinlerin savas sebebi olarak gorulmesi, Islamofobinin bilincli bir bicimde guclendirilmesi karsisinda Life of Pi gibi filmler, sinemanin bu hususta soyleyecegi cok sozu oldugunu gostermektedir

The Silvery Life of Pi

The Silvery Life of Pi

Life of Pi and the moral wound.

The "moral wound," rendered symbolically in the form of the tiger in Life of Pi, is a complex trauma in which the victim, in order to survive in life-threatening circumstances, commits an ethical transgression against his or her deeply held values. Pi experiences such a trauma and deals with it by dissociating it in the form of the tiger and then has to simultaneously both preserve the tiger and wish it to disappear. Jonathan Shay's work relating the experiences of returning Vietnam veterans to Homer's Odyssey is used to further an understanding of both Life of Pi and American soldiers returning from the wars in Iraq and Afghanistan. Reasons are considered for the possible delayed effect of trauma as a factor in the increased suicide rate of older veterans. Finally, the concept of the "moral wound" is discussed, with an eye to its treatment.

Crossing Oceans and Stories: Yann Martel’s Life of Pi and the Survival Narrative

In Yann Martel’s Life of Pi (2001), “crossing” involves the exploration of a wide range of stories and genres. By paying close attention to the borders that keep cultures apart, the author seeks to problematize the boundaries that define East and West as well as the human and animal realms of existence. In this respect, Martel’s novel testifies to the writer’s ability to renew the classic survival story.

English

Elaborating on parallel, substitutional and correlated elements of the narrative in Yan Martel’s Life of Pi, this study aims at examining Martel’s technique for presenting a believable story in his novel. To discuss the way the believability of Pi’s narrative gets solidified, this enquiry takes advantage of the organizing principles of structuralism, namely, the metonymical-syntagmatic and the metaphorical-paradigmatic axes. Attributing the various correlating elements of the novel to these axes shows that what actually makes Pi a reliable narrator and simultaneously his narrative believable are the very parallel structures of the novel. Keywords: structuralism; metonymical-syntagmatic axis; metaphorical-paradigmatic axis; believability

Time for courage: a reflective dialogue on the state of the clinical psychology profession

Articulated via an interplay of internal and external dialogues between the ‘author’ and imaginary/real-life characters, this piece offers a reflection on the state of the clinical psychology profession in the UK. Drawing purposefully on the narrative structure of Life of Pi, a common theme emerging in these dialogues is a concern that the profession is in danger of being devoured by a dangerous lack of tolerance for diverse models of psychological therapy. Like Pi, some in the profession will require courage to survive in the company of such intolerance.

Water, Water, Everywhere, and Not a Drop to Drink

Water, Water, Everywhere, and Not a Drop to Drink

A Vanishing Piece of the Pi

Digital visual effects (VFX) now comprise one-third of total production spending on major feature film releases. They also are a significant and growing component of production budgets for television programming and commercials. Yet, despite the rising status of VFX, this sector of the media business has been in turmoil for over a decade, a situation made palpable by recurring waves of bankruptcies and layoffs, most notably including Rhythm & Hues, the company that scored the 2013 Oscar for VFX in Life of Pi. This essay analyzes the increasingly globalized mode of production in the VFX industry. We critically examine the specific practices and protocols of the VFX business, demonstrating their impact on workers and labor-organizing efforts. Tying together insights from political economy, creative economy, and production studies, the essay offers a middle-range analysis that connects specific local labor conditions to broader trends in the media industries.

“No Bamboozlement Here”: Teaching Yann Martel’s Life of Pi across the Curriculum

The article examines Yann Martel’s novel, Life of Pi, in the context of providing instruction across the high school curriculum.